[no subject]

"A devastating blow came in 1965 when Maciunas and Flynt decided to picket
a performance of Stockhausen's Originale because of the composer's alleged
racist remarks concerning African-American music. Many of the performers
in the concert were also members of Fluxus and the demonstration failed
miserably. It may have marked the beginning of the end of the Fluxus
movement. Fluxus continued until the late 1970s and many agree that with
Maciunas's death in 1979 the movement also perished."


> > What I meant by direct connections is that a lot of microsound artists
> > used to be regular techno, house or ambient producers or rock musicians
> > before becoming serious glitch artists :-).
>
> Emoticons aside, are you applying that these folks were not serious when
> producing "regular" techno, unleaded house, ambient or rock?

That was a joke, hence the smiley face.
But what I mean is that the intent of their work has changed. Supposedly
there's now more of an intellectual element to their work.
They're now more concerned with "pure data and imageless sound
information". ;->


> But you're implying that these artists are
> somehow less pure because they didn't create themselves out of nothing,
> as Stockhausen and Xenakis apparently did,

I'm not implying that. What I'm saying is that their previous experience
with more "pop" music making still reflects in their recent work.


> Speaking of your high-fallutin' liner notes! DJ Spooky! I have a great
> respect for, and enjoy a lot of, Spooky's work,

I think Mr. Spooky is full of hot air.
That's about all I have to say about him.


> > How many copies of "Hymen" do you think sold ?
> > That's how popular an idea it was.
>
> You've missed my point. You'd implied that Stockhausen was working outside
> of pop culture and pop music. The sources used to create "Hymnen" reveal an
> artist very aware of the processes and the importance of responding to
> popular musical works. Sale of copies is irrelevant.

I'd still say he was/is working outside of pop culture and pop music.
I think it's about his intents and how he used the national anthems.
I don't think the way he used them was a nod to pop music or culture.

John Oswald uses pop music in his pluderphonics pieces, but does that mean
he's working inside of pop culture and pop music ?


> Last comment ... would you even understand Stockhausen or Xenakis or whoever
> else it is you've placed on this pedestal if you DIDN'T have a 20-page CD
> booklet to explain their work to you?

I'm not sure what "understanding" Stockhausen or Xenakis means.
I can say though that the complexity of thought/intent which is involved
in their compositional processes is much more clearly reflected/apparent
in their compositions than in most microsound.


Andrei